Citing a desire to start a new band and also fatigue from having to sing so many ultra-personal songs, David Combs recently announced the retirement of his Spoonboy persona after a series of intimate “goodbye” shows. In fact, when he showed up at Philadelphia’s world-famous “Great Indoors” on Mau 23, 2015, the transformation had already begun to take place, his more recent Ian Hunter locks having been trimmed back down to his earlier Max Levine Ensemble mop top. Playing the upstairs of the house, Combs sat on a chair while the audience sat in a circle around him, much like a kindergarten music show.

But, despite the… low key… environment of the show, Combs, who had but an acoustic guitar, displayed how much power he has in those strings. The fact is, a good deal of musicians will often go acousticguy-with0guitar route to cover up sub par songwriting, or worse, bland material. But, with Combs, the effect was the opposite. Combs’ songs make their trade in dynamics and a certain jumpy energy (even when they are slower), so even though it was just him and his instrument, he varied the energy of a full band. These songs didn’t sound “Stripped down,” but rather, bustling, busy, and vibrant.

After an intro consisting of what Combs described as “songs that I wrote for myself,” he took requests for most of the night. It’s telling that his more recent songs, “Free Yr Mind, Square,” and “Sexy Dreams,’” were among the highlights. Combs tackled the songs with the sort of volume and energy reserved for a full band and while he played, I forgot that it was a solo show. The audience generally requested the quieter stuff, but they lit up most during the rockers, so that says something.

Though, the other highlight was the two duets that Combs did with former Lava Lava bandmate, Althea Baird. Combs handled the lower end as Baird wove here lyrics in between, and honestly, I was wowed by her voice. “Classically trained” she’s not, and really, that’s her strength. Baird’s voice was honest in a way I’ve rarely heard- a sort of school girl youthfulness mixed with a self-aware appreciation for bubblegum pop, perhaps. There’s more to it than that, but it suffices to say, that when she sings, it doesn’t sound like she’s trying to “sing,” it sounds like it’s the only way she can communicate what she’s trying to say.

The set was over after about 12 songs, making Spoonboy’s ride off into the sunset a rather quiet affair. Perhaps that’s a bit ironic, as even during the set’s quietest moments, these songs sounded huge and powerful. I believe Combs did a full band Spoonboy tour a few year ago and I was kicking myself for missing these rockers revved up with full fuel. Ya snooze ya loose I guess, but you can be damn sure I won’t be missing out the next time his new band comes around.

Earlier in the evening, Bepstein played his “Bepstein Show,” downstairs. A combination acoustic-punk/video show, the Bepstein show found its star interacting with his video-screen counter part. At times the two would berate each other, and at other, help each other out, such as when the “real” Bepstein handed a guitar pick to his video double, across the video screen. The songs, which found real Bepstein backed by a partner and a full video band, were firmly rooted in the folk-punk tradition: reckless, jangly songs that were built off a pop structure as heard through a ragged voice. It was fun and the tunes were catchy especially when Bepstein gave an extended speech about how this summer is “maximum summer.”

Honestly, I think sometimes the punk rockers aim too low. The fact is, Bepstein has the talent, skill, and affableness to really make “The Bepstein Show” something bigger than it is. I know thee Holy House show is often considered the most sacred place for an appearance, but I can really see this thing tearing down the house at a larger forum. If Bepstein really goes for it, there may very well be big things in his future.